Mission: Impossible— Rogue Nation
2015  PG-13  ACTION  2h 11min
CAST— Tom Cruise, Jeremy Renner, Simon Pegg, Rebecca Ferguson, Ving Rhames, Sean Harris, Alec Baldwin
MUSIC— Joe Kraemer  DIRECTOR— Christopher McQuarrie  BASED ON— Characters appearing on Mission: Impossible (television)

     The IMF has been dissolved. And at a really bad time, too. The mysterious rogue organization that Ethan Hunt (Tom Cruise) has been investigating for over a year (The Syndicate) has begun to rear its ugly head. The Syndicate is into some pretty rough stuff, murder and terrorism being the tip of the iceberg. Ethan and computer tech/field agent Benji Dunn (Simon Pegg) are secretly on the case. They are joined by crafty beauty Ilsa Faust (Rebecca Ferguson), who may or may not be on their side, may or may not be a covert operative, and may or may not be working for the Syndicate. It’s unclear. Anyway, Benji is soon in over his head, kidnapped by the bad guys and strapped to a bomb. It’s up to their former IMF comrades in arms to go to the rescue. But when they have their own CIA and the Syndicate gunning for them you know that things are not gonna be so easy. Cruise and company are still in fine form the fifth time out, the stunts are more amped up than ever, and the constant questioning of certain characters’ motives keeps things interesting. Sean Harris lends quiet menace to the cast as the head of the Syndicate and you’re never quite sure whose side CIA Director Alec Baldwin is on. In other words, this is a fun mission, if you choose to accept it.
OUR RATING— ***
PRECEDED BY— Mission: Impossible (1996), Mission: Impossible II (2000), Mission: Impossible III (2006), Mission: Impossible— Ghost Protocol (2011)
FOLLOWED BY— Mission: Impossible— Fallout (2018)

     Mission: Impossible— Ghost Protocol
2011  PG-13  ACTION  2h 13min
CAST— Tom Cruise, Jeremy Renner
MUSIC— Michael Giacchino  DIRECTOR— Brad Bird  BASED ON— Characters appearing on Mission: Impossible (television)

     The mission continues in the fourth installment of the M: I series. Ethan Hunt is re-recruited to save the world yet again, this time from a maniacal terrorist with plans for controlled nuclear devastation. Said terrorist has stolen launch codes for Russian nukes and Hunt and co. are hot on his globe-trotting tail. With tensions at a perilous high between the U.S. and Russia, IMF being dismantled and danger looming left and right the newly disavowed team may be in over their collective heads. Exciting, convoluted, fast-paced action is the eye-grabber, but top notch performances carry the story. Mission accomplished.
OUR RATING— ***
PRECEDED BY— Mission: Impossible (1996), Mission: Impossible II (2000), Mission: Impossible III (2006)
FOLLOWED BY— Mission: Impossible— Rogue Nation (2015), Mission: Impossible— Fallout (2018)

     Mission: Impossible III
2006  PG-13  ACTION  2h 5min
CAST— Tom Cruise, Philip Seymour Hoffman, Ving Rhames, Billy Crudup, Michelle Monaghan, Jonathan Rhys Meyers, Keri Russell, Maggie Q, Laurence Fishburne
MUSIC— Michael Giacchino  DIRECTOR— J. J. Abrams  BASED ON— Characters appearing on Mission: Impossible (television)

     After the silliness that was M: I-II Tom Cruise returns as IMF agent Ethan Hunt and he’s better than ever. Cruise sets out to find out why a fellow agent was killed in action and picks up the trail of a sinister arms dealer (Philip Seymour Hoffman in a scary, emotionless role) who’s after a mysterious something called the Rabbit’s Foot (a MacGuffin if ever there was one). Cruise must race the clock if he’s to save his new bride from the clutches of this conspiracy. The film has plenty of action and suspense but what really sets this installment above the others is the emotion; the filmmakers manage to humanize Ethan Hunt, as opposed to the stereotypical action film caricature he was last time. The only complaint: not enough screen time for Hoffman’s potent villain. Otherwise the best of the bunch.
OUR RATING— ***
PRECEDED BY— Mission: Impossible (1996), Mission: Impossible II (2000)
FOLLOWED BY— Mission: Impossible— Ghost Protocol (2011), Mission: Impossible— Rogue Nation (2015), Mission: Impossible— Fallout (2018)

     Mission: Impossible II
2000  PG-13  ACTION  2h 3min
CAST— Tom Cruise, Dougray Scott, Thandie Newton, Richard Roxburgh, John Polson, Brendan Gleeson, Radé Sherbedgia, Ving Rhames
MUSIC— Hans Zimmer  DIRECTOR— John Woo  BASED ON— Characters appearing on Mission: Impossible (television)

     The mission continues in this rather unfortunate sequel to the stylish original. Tom Cruise returns as IMF agent Ethan Hunt, no longer the smooth operative from the first mission; now he’s a long-haired bruiser with an attitude. He’s off to save the world from a custom made virus that’s fallen into the wrong hands, the hands of a rogue IMF agent who knows all of Cruise’s tricks. Trading substance for slam bang, slow-mo action sequences, this fails to deliver even as a no-brainer, proving to be both stupid and incoherent. This mission, if you choose to accept it, is pretty much a dud.
OUR RATING— * ½
PRECEDED BY— Mission: Impossible (1996)
FOLLOWED BY— Mission: Impossible III (2006), Mission: Impossible— Ghost Protocol (2011), Mission: Impossible— Rogue Nation (2015), Mission: Impossible— Fallout (2018)

     Mission: Impossible
1996  PG-13  ACTION  1h 50min
CAST— Tom Cruise, Jon Voight, Emmanuelle Beart, Henry Czerny, Jean Reno, Ving Rhames, Kristin Scott-Thomas, Vanessa Redgrave
MUSIC— Danny Elfman  DIRECTOR— Brian De Palma  BASED ON— Characters appearing on Mission: Impossible (television)

     The mission begins with this first installment of the M: I series. Tom Cruise plays a suave secret agent whose latest mission leaves him the only surviving member of his team. His superiors assume the worst and blame him for the death and destruction, claiming that he’s a mole. Desperate to clear his name Cruise recruits a team of defunct agents and takes on a mission that very nearly is impossible, the lives of countless undercover operatives at stake. Director Brian De Palma delivers a Hitchcockian thriller (albeit with more stunt work than Hitch could dream of) that is fun though rather unsatisfying. A blend of North by Northwest (1959) and any one of the louder James Bond flicks.
OUR RATING— ** ½
FOLLOWED BY— Mission: Impossible II (2000), Mission: Impossible III (2006), Mission: Impossible— Ghost Protocol (2011), Mission: Impossible— Rogue Nation (2015), Mission: Impossible— Fallout (2018)

Trailer Unavailable

     Miss Grant Takes Richmond
1949  NR  COMEDY  1h 27min
CAST— Lucille Ball, William Holden, Janis Carter, James Gleason, Frank McHugh
MUSIC— Heinz Roemheld  DIRECTOR— Lloyd Bacon

     Another ditsy performance by Lucille Ball is the highlight in an otherwise forgettable film. Inept secretary Ball is hired on by a realtor, despite having no talent in the workplace. What Ball fails to realize is that her new employer is a big time bookie. When she begins a campaign to organize a project for low cost housing, she just may steer her crooked boss legit. Some funny bits (mostly involving a typewriter) are scattered throughout this so-so farce. AKA Innocence is Bliss.
OUR RATING— **

     MirrorMask
2005  PG  FANTASY  1h 41min
CAST— Jason Barry, Rob Brydon, Stephanie Leonidas, Gina McKee
MUSIC— Iain Ballamy  DIRECTOR— Dave McKean

     Film festival favorite MirrorMask is a “love-it-or-hate-it” film if ever there was one. The story centers on a girl escaping the harsh realities of life by following denizens of a dream world and embarking on a quest to save the land of fantasy from the land of shadow. She must awaken the queen by retrieving a charm called the mirrormask before the queen of shadows kidnaps her and devours the pure land. Along her quest she encounters the usual amount of quirky creatures and characters, most of whom wear strange and assorted masks. An ill-conceived and poorly executed fantasy, with shoddy computer effects and animation, which is bad considering that about 80% of the film has CGI. Brought to you by the Jim Henson Company, this disappointment draws comparison to Labyrinth (1986), but you’d best stick with the latter.
OUR RATING— *

     The Miracle Worker
1962  NR  DRAMA  1h 46min
CAST— Anne Bancroft, Patty Duke, Victor Jory, Inga Swenson, Andrew Prine, Beah Richards, Kathleen Comegys
MUSIC— Laurence Rosenthal  DIRECTOR— Arthur Penn  BASED ON— True events

     Do you have this kind of patience? Anne Bancroft plays the title character, a newly appointed teacher for young Patty Duke, who plays Helen Keller, deaf, blind and mute since infancy. She’s now a wild child with a raging temper, frustrated at her inability to communicate, yet never receiving discipline for her barbaric actions. It’s now up to Bancroft to try and teach Duke the ways of the world: communication, cleanliness, anger management. But Duke has a strong will; Bancroft must use every ounce of determination she has if she is to break through Duke’s shell. Inspired performances add depth to this stirring drama. Though dealing with delicate subject matter you can expect to be entertained throughout, as various scenes provide generous doses of humor as two powerful personalities clash. Oscar-winner for Best Actress (Bancroft), Best Supporting Actress (Duke).
OUR RATING— ***
REMADE AS— The Miracle Worker (1979/2000)

     Million Dollar Baby
2004  PG-13  DRAMA  2h 12min
CAST— Clint Eastwood, Hilary Swank, Morgan Freeman
MUSIC— Clint Eastwood  DIRECTOR— Clint Eastwood  BASED ON— Rope Burns (book), by F. X. Toole

     A searing drama that again proves Clint Eastwood’s prowess as a director. Here he plays a gruff and grumbling trainer for an up and coming boxer. As the boxer leaves for a better offer opportunity knocks when into the gym steps Hilary Swank, an aimless thirty-something with the heart of a champ. Even though Eastwood unceremoniously claims that he doesn’t train girls Swank is still steadfast in her desire to be a fighter. She accepts some friendly advice from kindly Morgan Freeman, an ex-boxer with more than a few years experience, both in and out of the ring. Seeing her at the gym day after day Eastwood develops a fondness for her, so much so that he decides to train her. So begins a winning partnership that transcends the ring, making their relationship vital to the two of them. Not as much of a boxing film as one might expect; rather a poignant, emotional study of a loving relationship (grudgingly admitted, of course). A real K.O. Oscar-winner for Best Picture, Best Director, Best Actress (Swank), Best Supporting Actor (Freeman).
OUR RATING— ***

Trailer Unavailable

     The Milky Way
1936  NR  COMEDY  1h 28min
CAST— Harold Lloyd, Adolph Menjou, Verree Teasdale, Helen Mack, William Gargan, George Barbier, Dorothy Wilson, Lionel Stander
MUSIC— Tom Satterfield, Victor Young  DIRECTOR— Leo McCarey

     Harold Lloyd, that irrepressible four-eyes, turns in a surprisingly meager comedy. Lloyd, meek and humble milkman, lands himself in a scuffle where another man is knocked cold (this man just happens to be the middleweight champion of the world). Suddenly Mr. Milkman is a sensation, becoming a celebrity overnight. He is soon signed on to a contract to fight in the middleweight division. His status as a world famous boxer begins to go to his head and the timid milkman goes out the window, much to the chagrin of his loved ones. The plot promises laughs, especially with Lloyd on board but, alas, little is to be found in the comedic department, physical or otherwise.
OUR RATING— * ½
REMADE AS— The Kid from Brooklyn (1946)

     Mildred Pierce
1945  NR  DRAMA  1h 51min
CAST— Joan Crawford, Jack Carson, Zachary Scott, Eve Arden, Ann Blyth, Bruce Bennett, Lee Patrick, Butterfly McQueen
MUSIC— Max Steiner  DIRECTOR— Michael Curtiz  BASED ON— Mildred Pierce (novel), by James M. Cain

     A timeless classic, Mildred Pierce considers the story of one woman’s struggle to keep her children happy and content… no matter what the price. Joan Crawford plays the title character: a hard working, long-suffering mother who hits pay dirt in the restaurant business. Everything she earns is spent on her daughter, a manipulative, scheming, downright unpleasant young woman. When Mildred’s husband is murdered the suspects start rolling in, Mildred included. But where is darling daughter Veda? When Mildred confesses to the crime things still seem a bit fishy. How far will she go? Using dark shadows to emphasize the moody atmosphere, the film has a beautiful black/white finish; the casting was spot on, providing colorful characters such as Mildred herself and, perhaps the greatest performance of them all, Anne Blyth as Veda, shaping the role into a slimy, villainous character who can seemingly charm her way out of anything. When these two dynamic personalities clash you’ll be glad you checked this one out. Oscar-winner for Best Actress (Joan Crawford). Deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress National Film Registry.
OUR RATING— ***
REMADE AS— Mildred Pierce (2011)

     A Mighty Wind
2003  PG-13  COMEDY  1h 31min
CAST— Christopher Guest, Michael McKean, Harry Shearer, Eugene Levy, Catherine O’Hara, Bob Balaban, Fred Willard, Parker Posey, Jane Lynch, John Michael Higgins, Jennifer Coolidge, Ed Begley, Jr., Larry Miller, Michael Hitchcock, Paul Dooley
MUSIC— Christopher Guest  DIRECTOR— Christopher Guest

     In the style of Waiting for Guffman (1997) and Best in Show (2000) this mockumentary is obviously a labor of love for those involved but a take it or leave it film for movie goers. Various defunct folk bands from the ‘60s and ‘70s are called upon to do one last gig, a benefit for the family of a deceased folk mogul. Various folk performers share the spotlight as stories unfold, former romances rekindle, and ancient feuds become the order of the day. Tedious throughout; the brightest moments being Eugene Levy’s vignettes as a borderline psycho. Otherwise, you can take your chances, “folks”.
OUR RATING— * ½

     Mighty Joe Young
1949  NR  SCIENCE FICTION  1h 33min
CAST— Terry Moore, Ben Johnson, Robert Armstrong, Frank McHugh
MUSIC— Roy Webb  DIRECTOR— Ernest B. Schoedsack

     What at first seems like a rip-off of King Kong (1933) is actually a film all its own. A young girl living in Africa raises an ape from infancy. A large ape. When a show business promoter visits Africa he runs afoul of the ape, whom the girl has named Joseph Young. The promoter sees not a beast but dollar signs. After coercing the girl to join his act off they head to the States to display Joe to the masses. Audiences rave over him; that is until he escapes and goes on a rampage. Joe’s berserker rage is top notch, while the finale can be a bit sticky sweet. Worth a viewing, if only for a chance to see the terrific special effects, co-designed by Ray Harryhausen. Sure, there are a few elements that come close to Kong, but overall the story has been altered to protect the hairy. Oscar-winner for Best Visual Effects. AKA Mr. Joseph Young of Africa, The Great Joe Young.
OUR RATING— ** ½
REMADE AS— Mighty Joe Young (1998)

Trailer Unavailable

     Midnight Lace
1960  NR  DRAMA  1h 43min
CAST— Doris Day, Rex Harrison, John Gavin, Myrna Loy
MUSIC— Frank Skinner  DIRECTOR— David Miller  BASED ON— Matilda Shouted Fire (play), by Janet Green

     Doris Day stretches her acting muscles in this suspense yarn with a Hitchcockian flair. Three months ago American Day married Londoner Rex Harrison and wedded bliss ensued. Now relocated across the pond Day struggles with being European. Things grow even more irksome when she begins to receive death threats out of the fog and over the telephone. She rallies the support of her husband and aunt but really, what proof does she have? The police are skeptical and soon this begins to wear off on Day’s loved ones as well. Things escalate when dangerous accidents occur, leaving Day in a state of hysteria. The suspects are numerous but early guesses (especially by those in the audience who’ve seen either version of Gaslight [1940/1944]) may prove worthwhile. A fine cast adds class to the whole affair, though the roles of both Herbert Marshall and Roddy McDowell could have been beefed up. All in all a bit transparent but entertaining nevertheless.
OUR RATING— ** ½
REMADE AS— Midnight Lace (1981)

Trailer Unavailable

     Metropolis
1927  NR  SCIENCE FICTION  2h 33min
CAST— Brigitte Helm, Alfred Abel, Gustav Fröhlich, Rudolf Klein-Rogge, Fritz Rasp
MUSIC— Gottfried Huppertz  DIRECTOR— Fritz Lang  BASED ON— Metropolis (novel), by Thea von Harbou

     This highly influential, impressionistic, silent science fiction film is considered by some to be one of the greatest motion pictures of all time, a masterpiece. The story, as far as it goes, is pretty much your standard morality tale: a futuristic society is comprised of two classes of people, the rich and the poor. The rich rule the city of Metropolis, living above ground, while the poor are treated as slaves, living a meager existence powering the machines that run the city. A rich boy and a poor girl meet, fall in love, predictably ticking off the boy’s father, who begins to set off a chain reaction of events leading to the near dissolution of Metropolis. While the story begins as a solid tale of the future, it somehow veers off into an almost gothic love story (complete with a witch/robot burning). What really sets this one apart are its visuals, which are impressive: massive set pieces, intricate models, it’s all here. Just don’t expect to be swept along by the story and you’ll be fine.
OUR RATING— **

     The Meteor Man
1993  PG  COMEDY  1h 40min
CAST— Robert Townsend, Marla Gibbs, Eddie Griffin, Robert Guillaume, James Earl Jones, Roy Fegan, Cynthia Belgrave, Marilyn Coleman, Don Cheadle, Bill Cosby, Frank Gorshin, Sinbad, Luther Vandross, Samuel L. Jackson
MUSIC— Cliff Eidelman  DIRECTOR— Robert Townsend

     No-brainer comedy in which a timid substitute teacher, hit by a meteorite, gains superpowers. His neighbors persuade him into cleaning up their inner city neighborhood; in so doing, he runs afoul of an organized street gang who will stop at nothing to take him down. The film relies on star power to cover up the massive problems within, and instead of a comedy we’re left with a supposed moral story about joining a celebrity-endorsed neighborhood watch.
OUR RATING— * ½

     Message in a Bottle
1999  PG-13  DRAMA  2h 11min
CAST— Kevin Costner, Robin Wright Penn, John Savage, Illeana Douglas, Robbie Coultrane, Paul Newman
MUSIC— Gabriel Yared  DIRECTOR— Luis Mandoki  BASED ON— Message in a Bottle (novel), by Nicholas Sparks

     Lies. Deception. Dishonesty. Upon these roots a passionate romance begins in this tear jerker of a drama. Robin Wright Penn plays a Chicago Tribune columnist vacationing at Cape Cod, who discovers a bottle washed ashore. Inside is an intensely romantic letter from a mystery man. Back at the Tribune she uses every means at her disposal to track down the origins of the letter. Finally, the discovery is made: it was written by a man in a town on a small island off the coast of North Carolina, a man who restores sailboats. Off she goes to meet the man (strictly on a professional basis, of course), but after meeting him, she never reveals the true reason for her interest in him. But soon love starts to bloom for the two, even though she has her career seemingly a million miles away and he still can’t let go of the memory of his late wife, Catherine. There are many great moments in the film, many highs and lows, but the performances (Paul Newman’s for example) really add depth to the story. P.S.: as mentioned earlier, it’s a tear jerker, so to keep a tissue or two handy may be prudent.
OUR RATING— ***

Trailer Unavailable

     Merrily We Live
1938  NR  COMEDY  1h 35min
CAST— Constance Bennett
MUSIC— Marvin Hatley  DIRECTOR— Norman Z. McLeod  BASED ON— The Dark Chapter; A Comedy of Class Distinctions (novel), by E. J. Rath

     Do they ever. A family of misfits take in a well-mannered drifter (for you see, the matriarch’s newest hobby is rehabilitating hobos), clean him up, and present him to the world as their new chauffeur. Big sister soon finds herself falling for her handsome hired help while he plays at being the innocent. A fine vehicle for Constance Bennett but otherwise the film practically screams of My Man Godfrey (1936).
OUR RATING— ** ½

     Men in Black 3
2012  PG-13  COMEDY  1h 46min
CAST— Will Smith, Tommy Lee Jones, Josh Brolin, Jemaine Clement, Michael Stuhlbarg, Emma Thompson, Alice Eve, Bill Hader, Nicole Scherzinger, David Rasche
MUSIC— Danny Elfman  DIRECTOR— Barry Sonnenfeld  BASED ON— Characters appearing in Malibu Comics

     Agents J and K (Will Smith and Tommy Lee Jones) return for a less than inspired third outing in this, the latest MIB adventure. When a grotesque extraterrestrial villain named Boris the Animal escapes from a maximum security lunar prison he changes the course of history by time-jumping to 1969 and killing K, thereby allowing Boris’ alien species to launch an invasion of Earth. Or something. Anyway, J travels back to ’69, joins forces with a younger version of K (played to utter perfection by a stony Josh Brolin) and attempts to right the little hiccup in time. J and K have definitely seen better days, battled better enemies and quipped better one-liners. Not as tired as the first sequel but still a bit lazy.
OUR RATING— ** ½
PRECEDED BY— Men in Black (1997), Men in Black II (2002)

     Men in Black II
2002  PG-13  COMEDY  1h 28min
CAST— Tommy Lee Jones, Will Smith, Lara Flynn Boyle, Johnny Knoxville, Rosario Dawson, Tony Shalhoub, Rip Torn
MUSIC— Danny Elfman  DIRECTOR— Barry Sonnenfeld  BASED ON— Characters appearing in Malibu Comics

     Tommy Lee Jones and Will Smith are back in black as agents K and J in this inferior sequel to Men in Black (1997). The menace this time around is Serleena, an alien in the guise of an underwear model. But don’t let the cleavage and lack of warm clothing fool you; she means business. She’s looking for an alien relic, the Light of Zartha, and she lets nothing stand in her way. J needs to find K (who has been neuralized, remember), bring him back to MIB, restore his memory, and search for clues to find the Light before Serleena finds it and destroys the world. All in a day’s work for MIB. Popular characters Jeebs, Frank the pug, and the worm guys are back as well as all new alien creations, but the movie tends to be dumber than it should be. It’s watchable and can be fun, but it seems to be made just for laughs (not to mention lingerie), lacking the originality of the first film.
OUR RATING— **
PRECEDED BY— Men in Black (1997)
FOLLOWED BY— Men in Black 3 (2012)

     Men in Black
1997  PG-13  COMEDY  1h 38min
CAST— Tommy Lee Jones, Will Smith, Linda Fiorentino, Vincent D’Onofrio, Rip Torn
MUSIC— Danny Elfman  DIRECTOR— Barry Sonnenfeld   BASED ON— Characters appearing in Marvel Comics

     Don’t you just hate bugs? Especially big huge alien bugs who want to destroy all life on Earth and take over the galaxy? Yeah, most people do. But as it turns out, there’s a secret organization that protects us from these threats, as well as monitor all alien life on the planet. They are the Men in Black. Tommy Lee Jones and Will Smith star as MIB agents K and J in this wonderfully funny and original sci-fi comedy. When an alien bug, played by a rapidly deteriorating Vincent D’Onofrio, crash lands on our planet and starts wreaking havoc, MIB is hot on his trail. We enjoy every minute as stone-faced K and bumbling J work to save, not only Earth, but the entire galaxy. With great characters and terrific makeup and effects, this one is fun from start to finish. Oscar-winner for Best Makeup. Later developed into an animated series.
OUR RATING— *** ½
FOLLOWED BY— Men in Black II (2002), Men in Black 3 (2012)

     Memphis Belle
1990  PG-13  DRAMA  1h 47min
CAST— Matthew Modine, Eric Stoltz, Tate Donovan, D.B. Sweeney, Billy Zane, Sean Astin, Harry Connick, Jr., Reed Edward Diamond, Courtney Gains, Neil Giuntoli, John Lithgow
MUSIC— George Fenton  DIRECTOR— Michael Caton-Jones

     Climb aboard for this rousing fact-based adventure, chronicling the final mission of the famous WWII B-17 “Flying Fortress”, the Memphis Belle. We meet the crew, a motley group of ten young men with one thing on their collective minds: One more mission. One last mission. They’ve flown twenty-four bombing runs without suffering a scratch. But will they be so fortunate on their twenty-fifth? The first half of the film has been critically bashed as being one long war movie cliché, “tired” characters and all, and yes, it tends to be a bit slow. But the real reason to watch this one is for the second half, when the bomber is in the air and the action comes a-flyin’. Even the characters seem to lighten up as they do what they do best onboard the Belle. But the tension and peril, mixed with adventure and drama more than make up for any previous clumsiness of the script. Exciting and satisfying, Memphis Belle flies high.
OUR RATING— *** ½

     Meet the Parents
2000  PG-13  COMEDY  1h 48min
CAST— Robert De Niro, Ben Stiller, Blythe Danner, Teri Polo, James Rebhorn, Jon Abrahams, Owen Wilson
MUSIC— Randy Newman  DIRECTOR— Jay Roach

     It always seems that when you’re careful to do everything just right, that’s when you screw up the most. And you always have to learn that the hard way. Ben Stiller plays Greg Focker, a male nurse who finds that out after meeting girlfriend Pam’s parents for the first time. Before popping the question, Greg must first get her father’s blessing. Easier said than done. It turns out that her cat-loving father, whom Greg thought was a florist, is really an ex-CIA agent, played by Robert De Niro with hilariously intimidating perfection. After going through many misadventures (dinner with her parents, losing the cat, nearly burning the house down, etc.), Greg starts to wonder if Pam is really worth the trouble of being in her family. Tense situations and perfect performances make this a winner. A word of warning: do not watch this with your in-laws. They may start to get ideas.
OUR RATING— *** ½
FOLLOWED BY— Meet the Fockers (2004), Little Fockers (2010)
ORIGINAL— Meet the Parents (1992)

     Meet Joe Black
1998  PG-13  DRAMA  3h 1min
CAST— Anthony Hopkins, Brad Pitt, Claire Forlani, Jake Weber, Marcia Gay Harden, Jeffrey Tambor, David S. Howard
MUSIC— Thomas Newman  DIRECTOR— Martin Brest

     An interesting concept: Death personified (played by a frightfully blonde Brad Pitt) enters our world with child-like innocence and discovers friendship, romance, and peanut butter. When he comes to claim the life of media mogul Anthony Hopkins he decides to delay the inevitable so as to observe the man in action. He gets more than he bargained for when he meets Hopkins’ daughter, a sensitive doctor in a loveless relationship. As the clock winds down love blooms between the two, while daddy counsels them both in the ways of romance. If only it didn’t take so darn long! What easily could have taken two hours is needlessly stretched out to three. It seems that death does take a holiday.
OUR RATING— ** ½
ORIGINAL— Death Takes a Holiday (1934/1971)

     The Mechanic
1972  PG  ACTION  1h 40min
CAST— Charles Bronson, Jan-Michael Vincent
MUSIC— Jerry Fielding  DIRECTOR— Michael Winner

     Tough guy Charles Bronson stars in this thriller featuring exciting action sequences in amongst bland everything else. Bronson plays a trusted mechanic (otherwise known as a hit man) whose trademark is making the assassinations look like natural deaths or accidents. He's hired to take out a trusted associate (Keenan Wynn) who's up to his neck in illegal activities. Wynn's amoral, twenty-something son (Jan-Michael Vincent) soon starts hanging around Bronson, thought to be a loner but actually just lonely. Soon Vincent begins asking about Bronson's profession, prompting Bronson to begin including him in his life, training him in the ways of weapons and espionage. But the know-it-all kid needs to learn patience and respect. Bronson eventually has Vincent accompany him on jobs; the problem is that he does so without the permission of his mysterious employers. When assigned an overseas contract Bronson and Vincent must be sharper than ever, because something is definitely up this time. Starts off great, ends with a bang, with the middle a tedious story of basically two dudes hanging out. The relationship between the two leads wants to have a sort of father/son dynamic, with Bronson mentoring the smarmy Vincent, but there seem to be some vibes of a different nature coming from Vincent. Whatever was intended the film wants to work but fails to be either interesting or entertaining unless Bronson is on the job, kicking bottom and taking names. AKA Killer of Killers.
OUR RATING— **
REMADE AS— The Mechanic (2011)

     McQ
1974  PG  ACTION  1h 51min
CAST— John Wayne, Eddie Albert, Diana Muldaur, Colleen Dewhurst, Clu Gulager
MUSIC— Elmer Bernstein  DIRECTOR— John Sturges

     John Wayne brings the heat to Seattle in this entertaining detective drama. Someone’s been gunning down a slew of Seattle’s finest, including Wayne’s partner. Big mistake. Wayne suspects the involvement of the city’s biggest drug lord, and a confrontation with him leads to Wayne’s resignation from the force. Well they may take away Wayne’s piece and badge but they’ll never take his commitment to justice (or his unlicensed firearms). He uncovers a plot to steal a load of seized narcotics set for incineration, but will he be implicated in the process? Exciting, fast-paced and action-packed this is a far cry from war-torn Asia or Western-era Monument Valley, but Wayne still delivers.
OUR RATING— ** ½

Trailer Unavailable

     McLintock!
1963  NR  WESTERN  2h 7min
CAST— John Wayne, Maureen O’Hara, Patrick Wayne, Stefanie Powers, Yvonne De Carlo, Chill Wills, Bruce Cabot, Jack Kruschen, Jerry Van Dyke, Perry Lopez, Strother Martin
MUSIC— De Vol  DIRECTOR— Andrew V. McLaglen

     Empty-headed Western comedy of sorts starring everyone’s swaggering hero, John Wayne. Wayne plays G.W. McLintock, a busily boozing cattle baron, lonely despite the love and admiration of the townsfolk. When his estranged city slicker wife and young daughter come to town, he knows that something’s brewing. Mrs. McLintock (Maureen O’Hara), a fiery redhead who takes guff from no one, storms through the town as if she owns it, divorce papers clutched in her refined hand. Well, divorce will have to wait; McLintock has other matters on his mind: settlers on his land, the arrival of Native American friends, and the visit of the grimy governor. Lacking both comical situations and Western heroics this film seems to be at a standstill throughout, unless you call repeated scenes of male chauvinism funny and heroic.
OUR RATING— **

     The Mating Season
1951  NR  COMEDY  1h 41min
CAST— Gene Tierney, John Lund, Miriam Hopkins, Thelma Ritter, Jan Sterling, Larry Keating, James Lorimer
MUSIC— Joseph J. Lilley  DIRECTOR— Mitchell Leisen  BASED ON— Maggie (play), by Caesar Dunn

     No, not a doc devoted to footage of animals doin’ the nasty in the wild, but a ‘50s era comedy that you can bring home to mother. A hard-working, successful businessman marries a blueblood princess, who lovingly accepts his long hours and small apartment. When his mother comes to town, his wife believes her to be hired help. Mommy-in-law says not a word; she would rather get free room and board as a housekeeper and cook than as a stuffy mother-in-law, anyway. A promising premise falls flat with zero laughs and less than engaging characters. Leave this one for your mother-in-law.
OUR RATING— * ½

     The Mating Game
1959  NR  COMEDY  1h 36min
CAST— Debbie Reynolds, Tony Randall, Paul Douglas, Fred Clark, Una Merkel, Philip Ober, Charles Lane
MUSIC— Jeff Alexander  DIRECTOR— George Marshall  BASED ON— The Darling Buds of May (novel), by H. E. Bates

     Frivolous comedy in which Tony Randall plays his trademark straight-man role amidst the chaos surrounding him. He plays an investigator for the IRS who is sent to sort out a little problem: A Maryland farmer (and father of five) has failed to pay his taxes; in fact, he’s never filed a tax return in his life. Randall is all business until he meets the farmer’s eldest daughter, a beautiful tomboy who’s more than a little distracting. Slow at points but gains a bit of momentum towards the end. More fun if you’re a fan of the stars.
OUR RATING— **

     Masterminds
2016  PG-13  COMEDY  1h 34min
CAST— Zach Galifianakis, Owen Wilson, Kristen Wiig, Kate McKinnon, Leslie Jones, Jason Sudeikis
MUSIC— Geoff Zanelli  DIRECTOR— Jared Hess  BASED ON— True events

     A tasteless, brainless excuse for a banal comedy that is apparently up most people’s alleys. Supposedly inspired by a true account of a heist in 1990s North Carolina, this interpretation has Zach Galifianakis as a clueless armored car driver whose seductive (and the term is here used loosely) partner (Kristen Wiig) coerces him into relieving the Loomis Fargo company of roughly $17 million. Galifianakis here forsakes a life of complacency with his creepy fiancée and her invalid mother for a life on the lam in Mexico, waiting for the good life to kick in. Meanwhile, Wiig’s friend and accomplice (Owen Wilson) hires a contract killer to take out Galifianakis; but for some reason the would-be killer and Galifianakis become best buds and who really cares by this point? Obviously studio executives really wanted this quartet to pull off a laugh-out-loud comedy that the masses would flock to see, but no. Just no. Tacky, pointless, insulting, and probably the worst offense, not even remotely funny. A definite loser.
OUR RATING— *

     Master and Commander: The Far Side of the World
2003  PG-13  DRAMA  2h 18min
CAST— Russell Crowe, Paul Bettany, Billy Boyd, James D'Arcy, Chris Larkin, Edward Woodall
MUSIC— Ira Davies, Christopher Gordon, Richard Tognetti  DIRECTOR— Peter Weir  BASED ON— Master and Commander (novel), by Patrick O'Brian

     A commanding performance by Russell Crowe keeps this film afloat as he plays a very un-Bligh-like captain of an English sailing vessel during the Napoleonic Wars. Around 1805 Crowe and his loyal men face a skirmish by a French warship that proves to be faster, more agile, and an all around deadlier foe than previously imagined. Crowe and his crew evade the ship, for now, with Crowe continuously planning his next assault. Meanwhile, the crew members face their various dilemmas: water rations running low, tensions rising amongst the men, etc. The ship's doctor, Crowe's trusted friend and confidant, has his sights set on a visit to the Galapagos Islands, but his plans take a back burner to the Captain's pursuit of the French privateer who has a good chance of besting them in battle. But don't get the wrong idea of Crowe; despite his honor for King and Country, he surprisingly has his crew's best interests at heart, boosting their morale (and their rations of rum and grog) when he deems their work as a job well done. A sympathetic view of the hardened sea captain, really a fresh approach for this type of film, leaves Crowe, not to mention his crew, ones to root for. Somewhat light on the action (if you compare this film to the Pirates of the Caribbean franchise) but plenty of character drama leaves one interested. Oscar-winner for Best Cinematography, Best Sound Editing.
OUR RATING— ** ½

Trailer Unavailable

     Mask
1985  PG-13  DRAMA  1h 59min
CAST— Cher, Sam Elliot, Eric Stoltz
MUSIC— Dennis Ricotta  DIRECTOR— Peter Bogdanovich  BASED ON— True events

     Eric Stoltz stars in this powerful portrait of disfigured teen Rocky Dennis, who copes alongside his strong-willed mother, Rusty, played with vigor by Cher. The film chronicles their relationship through happiness and heartache as they try to make the best of life, in their own ways. Surrounding them is a close knit group of bikers who provide support, along with Rocky’s father figure, Gar, played by Sam Elliot. We’re along every step of the way, from Rocky’s introduction to the moving finale, in this gripping drama based on the true story of Rocky Dennis. Oscar-winner for Best Makeup. Unrated director’s cut also available.
OUR RATING— ****

     The Martian
2015  PG-13  DRAMA  2h 21min
CAST— Matt Damon, Jessica Chastain, Kristin Wiig, Jeff Daniels, Michael Peña, Kate Mara, Sean Bean, Sebastian Stan, Aksel Hennie, Chiwetel Ejiofer
MUSIC— Harry Gregson-Williams  DIRECTOR— Ridley Scott  BASED ON— The Martian (novel), by Andy Weir

     Matt Damon gives a tremendous performance in this sweeping epic of survival. The Ares III mission, a manned Mars expedition, is going swimmingly until a major Martian storm forces an early departure, the only problem being that one team member (Damon) is reluctantly left behind. Thought dead Damon is very much alive and soon discovers to his horror that he’s been left behind on a barren planet. Now how to survive? He calculates quite a long time until rescue arrives; he’d best get busy surviving. Being a botanist helps. He devises a way to grow crops on an alien landscape, stretching his supplies a bit further. It takes a while for NASA to realize that Damon survived, but when they do all heck breaks loose. It becomes a PR nightmare for all involved, but more importantly plans must be made to bring their man home. Designs are greenlit and subsequently trashed numerous times before solid actions can be made. Meanwhile, the crew of the Ares III faces severe repercussions when they balk at NASA’s orders and decide to go back and rescue Damon, culminating in an emotionally thrilling finale. Much like the earlier made Gravity (2013) this is not so much science fiction as it is scientific fiction, a drama turned suspenseful thriller that has you rooting for the hero. Great effects, with realism shining throughout, but it’s the cast that really keeps one watching and, once again, that awesome third act! A space-faring winner. Extended version also available.
OUR RATING— ***

     Marshall
2017  PG-13  DRAMA  1h 58min
CAST— Chadwick Boseman, Josh Gad, Kate Hudson, Dan Stevens, Sterling K. Brown, James Cromwell
MUSIC— Marcus Miller  DIRECTOR— Reginald Hudlin  BASED ON— True events

     A stirring account of a true court case, one which helped to establish the illustrative career of a future civil rights advocate and US Supreme Court Justice. It's 1940, and defense attorney Thurgood Marshall, commissioned by the National Association for the Advancement of Colored People, is earning quite a reputation nationwide. The NAACP sends Marshall to defend innocent people of color who've been accused of committing crimes. He's now sent to Bridgeport, Connecticut, where a black man has been accused of raping a white woman. To assist Marshall is a rather reluctant young insurance lawyer who's never even been close to this kind of high profile criminal case. The two listen to their client deny the allegations... but is there something else going on here? Through the course of the trial the two lawyers face opposition and hostility not only from townsfolk holding to bigoted ideals, but also within the courtroom, the prosecution and even the judge seemingly determined to condemn the accused. Testimonies, records and revelations reveal that not all is as it seems in this case. A courtroom procedural that features great performances from the leads as well as compelling dramatics. But the trial itself, while certainly historical in life, doesn't really offer the film goer anything that can't be found in any number of legal dramas. Though given a PG-13 rating the film does contain strong language, including racial slurs, and frank discussion of adult subject matter. Final note: if the viewer finds this film interesting be sure to check out the 1991 TV miniseries Separate but Equal, featuring an excellent performance by Sidney Poitier as Marshall.
OUR RATING— ** ½

     Mars Attacks!
1996  PG-13  COMEDY  1h 47min
CAST— Jack Nicholson, Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito, Martin Short, Sarah Jessica Parker, Michael J. Fox, Rod Steiger, Tom Jones, Lucas Haas, Natalie Portman, Jim Brown, Pam Grier, Paul Winfield, Sylvia Sydney, Jack Black, Lisa Marie, Joe Don Baker, Christina Applegate, Barbet Schroeder
MUSIC— Danny Elfman  DIRECTOR— Tim Burton  BASED ON— Topps’ Mars Attacks trading cards

     We come in peace. Yeah, right. This homage to schlocky B-grade picture shows of yesteryear will never be considered one of Tim Burton’s directorial masterworks but there are some amusing moments herein. As far as plot goes, there really isn’t much to say. Flying saucers have been spotted in the skies. Planning to receive the extraterrestrials hospitably the President sends a liaison to greet them. However, upon arrival they turn out to be some mean little critters, carnage on the mind. Soon the aliens set their sights on the major cities of the world, blasting everything in sight. What, if anything, can stop these destructive little beasties? The answer may surprise you-oo-oo in this star-studded, special-effects laden sci-fi comedy. Ack!
OUR RATING— ** ½

     Marnie
1964  NR  DRAMA  2h 10min
CAST— Sean Connery, “Tippi” Hedren, Diane Baker, Martin Gabel, Louise Latham, Alan Napier
MUSIC— Bernard Herrmann  DIRECTOR— Alfred Hitchcock  BASED ON— Marnie (novel), by Winston Graham

     Less than memorable Hitchcock fare, this time centering on career criminal “Tippi” Hedren meeting her match in playboy tycoon Sean Connery. As she cooks up a scheme to rob him blind, he sees right through her, eventually snaring her in a trap of his own. He discovers her secrets, uncovers her background, and begins to understand who she is underneath her stony façade. After crawling along at a snail’s pace, the film generates a bit of speed in the last half hour, as the skeletons start to come out of the closets; patience is a must. Good performances. Great directing. But honestly, this may be better left to the Hitchcock freaks.
OUR RATING— **

     Mark of the Vampire
1935  NR  HORROR  1h
CAST— Lionel Barrymore, Elizabeth Allan, Bela Lugosi, Lionel Atwill, Carol (Carroll) Borland, Jean Hersholt, Donald Meek
MUSIC— Domenico Savino  DIRECTOR— Tod Browning

     Strictly by-the-books vampire tale is the same-ol’, same-ol’. Bela Lugosi, swathed in silken cape, descends the ancient stairway, nary a sound underfoot. The young object of desire is locked away in her room while a brainy doctor type plans her salvation. The heroes descend into the mysterious depths of the creature’s resting place, filthy creatures scampering about. Then they throw a monkey wrench into the works, and turn the film into a murder mystery, nary a vampire to be found. Entertaining enough, though the real mystery is why Tod Browning had to film Dracula (1931) twice. AKA Vampires of Prague.
OUR RATING— **

     Marley & Me
2008  PG  COMEDY-DRAMA  1h 55min
CAST— Owen Wilson, Jennifer Aniston, Eric Dane, Alan Arkin
MUSIC— Theodore Shapiro  DIRECTOR— David Frankel  BASED ON— Marley & Me: Life and Love with the World’s Worst Dog (book), by John Grogan

     The life and times of the world’s worst dog. Marley has an appetite for destruction and a craving for chaos. His masters (played convincingly by Owen Wilson and Jennifer Aniston) try and try, but keeping up with him is nigh impossible. As the years pass they go through life’s ups and downs: starting a family, changing jobs, buying homes; and Marley is a constant throughout. But, sadly, all times are not golden; though Marley is loyal to a fault, he’s not a puppy anymore. Though labeled a comedy the film deals with family drama and heartbreak more often than not, so a tissue or two wouldn’t hurt. Final note: though given a PG rating, be warned that the film contains coarse language and adult subject matter that may not be appropriate for the wee ones.
OUR RATING— ** ½
PRECEDED BY— Marley & Me: The Puppy Years (2011)

     Marihuana
1936  NR  DRAMA  57min
CAST— Harley Wood, Hugh McArthur, Pat Carlyle, Paul Ellis, Dorothy Dehn, Richard Erskine
MUSIC— N/A  DIRECTOR— Dwain Esper

     Another morality tale about the borderline satanic dangers of smoking pot, akin to Reefer Madness (1936), only this film produces more yawns than laughs. A decent young woman takes the wrong path in life and becomes an addict. Suddenly her life crashes down around her as she takes a steady descent into sin. Soon she becomes part of a drug ring and by this point you’ll be begging for the end. Final note: although the film was released in 1936 surprisingly it contains nudity, so this may not be the best film to use in educating the youngsters.
OUR RATING— *

Trailer Unavailable

     The Manxman
1929  NR  DRAMA  1h 21min
CAST— Carl Brisson, Malcolm Keen, Anny Ondra, Randle Ayrton
MUSIC— Silent  DIRECTOR— Alfred Hitchcock  BASED ON— The Manxman (novel), by Hall Caine

     Truly somnolent soap opera involving a seafaring fisherman, a future judge, and the woman they love. When the fisherman leaves on an ocean voyage he asks the girl to promise her heart to him. But she soon forgets her promise when his best friend comes along to be supportive of his friend’s departure. A relationship develops between the two land-lubbers just before fish-boy returns home. Best friend steps aside while they get married, and nine months later along comes baby, turning this quiet little triangle into a big noisy square. Boring through and through; don’t even think about it.
OUR RATING— *
ORIGINAL— The Manxman (1917)

     Man with the Gun
1955  NR  WESTERN  1h 24min
CAST— Robert Mitchum, Jan Sterling, Angie Dickinson, Barbara Lawrence, Karen Sharpe, Henry Hull
MUSIC— Alex North  DIRECTOR— Richard Wilson

     OK Western fare featuring Robert Mitchum as a “town tamer”, one who rids a town of its unpleasant side. But in this particular town Mitchum has a personal agenda: he’s come to call on his estranged wife in hopes of visiting his little girl. But business before pleasure. Murderous cowhands are running myriad and he’s the only one fit to tame this town. Mitchum’s presence holds this standard film together, but honestly, who’ll remember this one a year from now? AKA The Trouble Shooter, Deadly Peacemaker.
OUR RATING— ** ½

     The Man with the Golden Gun
1974  PG  ACTION  2h 5min
CAST— Roger Moore, Christopher Lee, Britt Ekland, Maud Adams, Herve Villechaize, Clifton James, Richard Loo, Marc Lawrence, Bernard Lee, Lois Maxwell, Desmond Llewelyn
MUSIC— John Barry  DIRECTOR— Guy Hamilton  BASED ON— The Man with the Golden Gun (novel), by Ian Fleming

     Alternate title: The Dude With the Third Nipple. Oh, yeah, he has one; you wanna see the little sucker? OK, we’ve strayed from the subject at hand. Our real film this evening is yet another James Bond flick. In this adventure our intrepid hero has been targeted by the world’s premier assassin, the mysterious Scaramanga. This guy’s a veritable phantom, making hits, disappearing; no photographic evidence, no physical profile. Who better to track him down that 007? Bond travels across the beautiful Orient in search of his unknown assassin. Meanwhile, Scaramanga has been busy himself; he is holding a device that will harness the power of the sun, to be used for continuous power on earth… and its power is up for grabs to the highest bidder. A Bond film that gives all it has to give but sadly comes up lacking. Highlights include the scenery, Scaramanga’s sinister little henchman, Nick Nack, and of course the added attraction of seeing Christopher Lee’s bare chest. Titillating.
OUR RATING— ** ½
PRECEDED BY— Dr. No (1962), From Russia with Love (1963), Goldfinger (1964), Thunderball (1965), You Only Live Twice (1967), On Her Majesty’s Secret Service (1969), Diamonds are Forever (1971), Live and Let Die (1973)
FOLLOWED BY— The Spy Who Loved Me (1977), Moonraker (1979), For Your Eyes Only (1981), Octopussy (1983), A View to a Kill (1985), The Living Daylights (1987), License to Kill (1989), GoldenEye (1995), Tomorrow Never Dies (1997), The World Is Not Enough (1999), Die Another Day (2002)